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Fest Brings All American Horror

By Jason Raymond

The New Orleans Horror film festival continued Friday night with screenings of short films as well as the features Savageland and the locally-filmed All American HorrorAll American Horror is a coming-of-age story set in rural Louisiana in 1959. Five teenagers from different cliques become trapped inside a church and have to face their fears while accepting someone different than any of them. Director John Swider along with Producers Wayne Douglas Morgan and Murray Roth attended the Friday night 10pm screening.

Film Review: The Trip to Italy

I haven't seen a film as fun as The Trip to Italy perhaps since original The Trip arrived in America in 2011. Steve Coogan and Rob Brydon return in a followup film as their bickering alter-egos, this time touring Italy vaguely following Romantic poets Shelley and Lord Byron while eating and drinking at fine restaurants. Just like the last time, witticisms and impressions flow across dinner tables. Old Coogan/Brydon staples like the James Bonds, Michael Caine, Pacino and Hugh Grant are joined by Tom Hardy and Christian Bale (unable to annunciate to a put-up A.D.), British TV show host Michael Parkinson, and musings on Alanis Morrissette's Jagged Little Pill.

Film Review: Tusk

As I sat stupefied through Tusk, I realized the only good coming from this experience would be my continued ability to vilify Kevin Smith and scorn his supporters. I find Smith alright on personal level. His frequent podcast appearances often amuse me. I love his famous story about how he and Barbara Streisand's former lover/hair stylist turned studio executive almost made a dreadful, black-suited Superman movie. I don't think he's a bad guy, just a horrible filmmaker.

Film Review: A Walk Among The Tombstones

Currently, Liam Neeson stars in movies at about the same rate as Michael Caine from the late 60s through 1990. A Walk Among The Tombstones feels like a throwback to Caine’s era: a lean, workman-like detective story whose pacing and editing isn't flashy. In Caine's better efforts like The Black Windmill or The Fourth Protocol , he played a spy. Here the source material comes from Lawrence Block, who has thrived as a second-tier detective mystery staple for decades. There's nothing original, but everything fits and functions. The movie doesn't shatter style like Michael Mann's Manhuter [1986], but it's better than a lot of recent crime movies.

Film Review: Zero Theorem

Heath Ledger's death midway through shooting marred his Terry Gilliam's last effort. Watching his first work since proved a joyless exercise. Though he's been on a slide since his splendid Time Bandits [1981], the American who worked his way into Monty Python via animation once offered visually unique, deeply flawed films that are fun to argue over. Can anyone who doesn't have a drug dependency really like The Fisher King [1991]?  Is Baron Munchausen [1988] good or just pretty in spots?  Unfortunately, The Zero Theorem, though better than his disastrous Jabberwocky [1977], looks far too much like Brazil [1985].

Film Review: Hannah and her Sisters

It's Woody Allen's last great film. That's a hard judgment on Crimes and Misdemeanors [1989], which was smart enough to show the world Alan Alda was an asshole by conning Alda into playing Alan Alda under the fig leaf of a stage name. For a man who had been at the pinnacle of comedy and filmmaking (treading in Allen's home waters as it were), the exposure (along with a couple of Alda-directed bombs) sealed Alda's fate as a contemporary filmmaker.&nbsp

Film Review: The Last Sentence

In the glow of Ingmar Bergman, you might forget that Sweden has other filmmakers. Jan Troell's The Last Sentence [Dom over dod man] is so forgettable you'll keep on forgetting. The feature follows Swedish journalist Torgny Segerstedt as he writes caustic editorials about Nazi leader Adolf Hitler from 1933 until Segerstedt's death in 1945. While becoming Sweden's most prominent anti-Nazi, Segerstedt had a long-time adulterous relationship with his wife's publisher, a rich, urbane woman of Jewish ancestry. His boss, Axel Frossman, knows of the

Cast & Crew Claim Hollywood South Production Failed to Pay Nearly $200k

Shooting the film The Dark Tales of El Diablo employed dozens of local industry veterans. However, months after filming wrapped, the cast and crew say they that nearly $200,000 in wages have not been paid. The unhappy parties worked on an independent segment of the film called The Devil's Brake, which they shot for nine days this June outside of Slidell, Louisiana. At completion, they were assured of prompt payment by Writer/Director/Producer Spencer F. Lee, but most of the crew say that they have not received checks and some of those that did receive checks have been unable to cash them due to insufficient funds.

Film Review: Ida

American cinema doesn't make films like Ida, a moody character study from director Pawel Pawlikowski. After making Summer of Love [2004] and The Woman in the Fifth [2011], Pawlikowski has left behind English and actors readily known to English-speakers to present his countrymen this grim reminder of their past.

Film Review: Frank

After a run of crummy movies, Frank feels far superior than it actually is. Brendan Gleeson's son, Domhnall, plays Jon, a wannabe songwriter/keyboardist. Drifting through humdrum, he discovers an unpronounceable assembly of letters announcing the strangest band you'd expect in a Sundance-independent quirky comedy. Of course, Sundance-independent means that Michael Fassbender (lead vocalist/wearer of huge fiberglass head) and Maggie Gyllenhaal (weird electric cat howler/backing vocals) lead the band.

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